Folio of Compositions and the Selective Subtraction of Tone and Rhythmic Material Composition Method
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Iannis Xenakis Celebration of the Centenary of the Composer (1922-2001) by the Percussions De Strasbourg
Iannis Xenakis celebration of the centenary of the composer (1922-2001) by the Percussions de Strasbourg Pléiades at the Festival Milano Musica Percussions de Strasbourg Percussions Celebration of the centenary of the de Strasbourg IANNIS XENAKIS composer (1922-2001) by the Percussions de Strasbourg It has been said several times that, thanks to percussion, Xenakis reintroduced the problem of rhythm that was thought to have disappeared from contemporary music. Architect, engineer and composer, this genius of composition writes music whose complex and harmonious structure contrasts with the explosive energy that comes out of it. The Percussions de Strasbourg are proud to have collaborated so closely with this composer who dedicated to them the works Persephassa (1969) and Pléiades (1979), which have become a must in the field of percussion. Idmen A and B (1985) is also dedicated to the Percussions de Strasbourg. Psappha (1975) and Rebonds A and B (1987-88) are solos that appear in our repertoire as well as the trio Okho (1989). Minh-Tâm Nguyen, artistic director of the Percussions de Strasbourg Xenakis and the Percussions de Strasbourg, 1984 2021: 20th death anniversary of the composer 2022: Centenary of the birth of the composer ON TOUR Pléiades (1979) - intermission - Persephassa (1969) immersive concert for 6 percussionists July 2021, Reggia di Caserta, Naples, Italy 19th of March 2022, Philharmonie, Paris, France 10th of April 2022, Megaron Concert Hall, Athens, Greece 12th of April 2022, Thessaloniki Concert Hall, Thessaloniki, Greece -
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The Pennsylvania State University The Graduate School College of Arts and Architecture SPATIALIZATION IN SELECTED WORKS OF IANNIS XENAKIS A Thesis in Music Theory by Elliot Kermit-Canfield © 2013 Elliot Kermit-Canfield Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Elliot Kermit-Canfield was reviewed and approved* by the following: Vincent P. Benitez Associate Professor of Music Thesis Advisor Eric J. McKee Associate Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Graduate Studies *Signatures are on file in the School of Music ii Abstract The intersection between music and architecture in the work of Iannis Xenakis (1922–2001) is practically inseparable due to his training as an architect, engineer, and composer. His music is unique and exciting because of the use of mathematics and logic in his compositional approach. In the 1960s, Xenakis began composing music that included spatial aspects—music in which movement is an integral part of the work. In this thesis, three of these early works, Eonta (1963–64), Terretektorh (1965–66), and Persephassa (1969), are considered for their spatial characteristics. Spatial sound refers to how we localize sound sources and perceive their movement in space. There are many factors that influence this perception, including dynamics, density, and timbre. Xenakis manipulates these musical parameters in order to write music that seems to move. In his compositions, there are two types of movement, physical and apparent. In Eonta, the brass players actually walk around on stage and modify the position of their instruments to create spatial effects. -
XENAKIS AS a SOUND SCULPTOR Makis Solomos
XENAKIS AS A SOUND SCULPTOR Makis Solomos To cite this version: Makis Solomos. XENAKIS AS A SOUND SCULPTOR. in welt@musik - Musik interkulturell, publi- cations de l’Institut für Neue Musik und Musikerziehung Darmstadt, volume 44, Mainz, Schott, 2004„ p. 161-169, 2004. hal-01202904 HAL Id: hal-01202904 https://hal.archives-ouvertes.fr/hal-01202904 Submitted on 21 Sep 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 XENAKIS AS A SOUND SCULPTOR* Makis Solomos Abstract One of the main revolutions —and maybe the most important one— of twentieth century music is the emergence of sound. From Debussy to recent contemporary music, from rock’n’roll to electronica, the history of music has progressively and to some extent focused on the very foundation of music: sound. During this history —when, in some way, composition of sound takes the place of composition with sounds—, Xenakis plays a major role. Already from the 1950s, with orchestral pieces like Metastaseis (1953-54) or Pithoprakta (1955-56) and with electronic pieces like Diamorphoses (1957) or Concret PH (1958), he develops the idea of composition as composition-of-sound to such an extent that, if the expression was not already used for designating a new interdisciplinary artistic activity, we could characterize him as a “sound sculptor”. -
This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department. -
Exploring Xenakis Performance, Practice, Philosophy
Exploring Xenakis Performance, Practice, Philosophy Edited by Alfia Nakipbekova University of Leeds, UK Series in Music Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019931087 ISBN: 978-1-62273-323-1 Cover design by Vernon Press. Cover image: Photo of Iannis Xenakis courtesy of Mâkhi Xenakis. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Introduction v Alfia Nakipbekova Part I - Xenakis and the avant-garde 1 Chapter 1 ‘Xenakis, not Gounod’: Xenakis, the avant garde, and May ’68 3 Alannah Marie Halay and Michael D. -
Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol
Xenakis on Xenakis Author(s): Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol. 25, No. 1/2, 25th Anniversary Issue (Winter - Summer, 1987), pp. 16-63 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833091 Accessed: 29/04/2009 05:06 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org XENAKIS ON XENAKIS 47W/ IANNIS XENAKIS INTRODUCTION ITSTBECAUSE he wasborn in Greece?That he wentthrough the doorsof the Poly- technicUniversity before those of the Conservatory?That he thoughtas an architect beforehe heardas a musician?Iannis Xenakis occupies an extraodinaryplace in the musicof our time. -
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Iannis Xenakis (1922-2001): Catalogue of Musical Compositions (from www.iannis-xenakis.org) Seven untitled pieces, Menuet, Air populaire, Allegro molto, Mélodie, Andante : 1949-50; piano, unpublished. Six Chansons : 1951; piano; 8’. Dhipli Zyia :1952; duo (vln, vlc); 5’30. Zyia :1952; 2 versions: a) soprano, men’s chorus (minimum 10) and duo (fl, pno); b) soprano, fl, pno; 10’. Trois poèmes : 1952; narrator and pno; unpublished. La colombe de la paix : 1953; alto and 4-voice mixed chorus; unpublished. Anastenaria. Procession aux eaux claires : 1953; mixed chorus (30), men chorus (15) and orchestra (62); 11’. Anastenaria. Le Sacrifice :1953; orchestra (51); 6’. Stamatis Katotakis, chanson de table : 1953; voice and 3-voice men chorus; unpublished. Metastasis : 1953-4; orchestra (60); 7’ Pithoprakta :1955-6; string orchestra (46), 2 trb and perc; 10’ Achorripsis :1956-7; orchestra (21); 7’ Diamorphoses :1957-8; electroacoustic tape. 7’. Concret PH :1958; electroacoustic tape; 2’45". Analogiques A & B :1958-9; string ensemble (9) and electroacoustic tape; 7’30". Syrmos :1959; string ensemble (18 or 36); 14". Duel :1959; 2 orchestras (56 total) and 2 conductors; variable duration (circa 10’). Orient-Occident :1960; electroacoustic tape; 12’. Herma : 1961; for solo piano; 10’ ST/48,1-240162 :1956-62); orchestra (48); 11’ ST/10, 1-080262 : 1956-62; ensemble (10); 12’ ST/4, 1-080262 : 1956-62; string quartet; 11’ Morsima - Amorsima (ST/4, 2-030762) :1956-62); quartet (pno, vln, vlc, db); 11’ Atrées (ST/10, 3-060962) : 1956-62; ensemble (11); 15’. Stratégie : 1962; 2 orchestras (82 total) and 2 conductors; variable duration (10 to 30’) Polla ta dhina :1962; children's chorus (20) and orchestra (48); 6’ Bohor :1962; electroacoustic tape; 21’30". -
1 a NEW MUSIC COMPOSITION TECHNIQUE USING NATURAL SCIENCE DATA D.M.A Document Presented in Partial Fulfillment of the Requiremen
A NEW MUSIC COMPOSITION TECHNIQUE USING NATURAL SCIENCE DATA D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Joungmin Lee, B.A., M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Dr. Thomas Wells, Advisor Dr. Jan Radzynski Dr. Arved Ashby 1 Copyrighted by Joungmin Lee 2019 2 ABSTRACT The relationship of music and mathematics are well documented since the time of ancient Greece, and this relationship is evidenced in the mathematical or quasi- mathematical nature of compositional approaches by composers such as Xenakis, Schoenberg, Charles Dodge, and composers who employ computer-assisted-composition techniques in their work. This study is an attempt to create a composition with data collected over the course 32 years from melting glaciers in seven areas in Greenland, and at the same time produce a work that is expressive and expands my compositional palette. To begin with, numeric values from data were rounded to four-digits and converted into frequencies in Hz. Moreover, the other data are rounded to two-digit values that determine note durations. Using these transformations, a prototype composition was developed, with data from each of the seven Greenland-glacier areas used to compose individual instrument parts in a septet. The composition Contrast and Conflict is a pilot study based on 20 data sets. Serves as a practical example of the methods the author used to develop and transform data. One of the author’s significant findings is that data analysis, albeit sometimes painful and time-consuming, reduced his overall composing time. -
Cellular Automata in Xenakis' Music. Theory and Practice
CELLULAR AUTOMATA IN XENAKIS’ MUSIC. THEORY AND PRACTICE Makis Solomos Université Montpellier 3, Institut Universitaire de France [email protected] In Makis Solomos, Anastasia Georgaki, Giorgos Zervos (eds.), Definitive Proceedings of the International Symposium Iannis Xenakis (Athens, May 2005). Paper first published in A. Georgaki, M. Solomos (eds.), International Symposium Iannis Xenakis. Conference Proceedings, Athens, May 2005, p. 120-138. This paper was selected for the Definitive Proceedings by the scientific committee of the symposium: Anne-Sylvie Barthel-Calvet (France), Agostino Di Scipio (Italy), Anastasia Georgaki (Greece), Benoît Gibson (Portugal), James Harley (Canada), Peter Hoffmann (Germany), Mihu Iliescu (France), Sharon Kanach (France), Makis Solomos (France), Ronald Squibbs (USA), Georgos Zervos (Greece) This paper is dedicated to Agostino Di Scipio, Peter Hoffmann and Horacio Vaggione. The English version, edited here, has not been revised. ABSTRACT Cellular automata are developed since some decades, belonging to the field of abstract automata. In the beginning of the 1980s, they were popularized in relationship with the study of dynamic systems and chaos theories. They were also applied for modelling the evolution of natural systems (for instance biological ones), especially in relationship with the idea of auto-organization. From the end of the 1980s since nowadays, several composers begin to use cellular automata. Xenakis must have been one of the first (or the first), as he used them, probably for the first time, in Horos (1986), so as to produce harmonic progressions and new timbre combinations. His use of cellular automata seems to be limited. This paper has three aims: 1. To try to understand the reasons why Xenakis used cellular automata. -
SELF-BORROWINGS in the INSTRUMENTAL MUSIC of IANNIS XENAKIS Benoît Gibson : University of Evora / CESEM1 (Portugal), [email protected]
SELF-BORROWINGS IN THE INSTRUMENTAL MUSIC OF IANNIS XENAKIS Benoît Gibson : University of Evora / CESEM1 (Portugal), [email protected] In Makis Solomos, Anastasia Georgaki, Giorgos Zervos (ed.), Definitive Proceedings of the “ International Symposium Iannis Xenakis ” (Athens, May 2005). Paper first published in A. Georgaki, M. Solomos (éd.), International Symposium Iannis Xenakis. Conference Proceedings, Athens, May 2005, p. 265-274. This paper was selected for the Definitive Proceedings by the scientific committee of the symposium: Anne-Sylvie Barthel-Calvet (France), Agostino Di Scipio (Italy), Anastasia Georgaki (Greece), Benoît Gibson (Portugal), James Harley (Canada), Peter Hoffmann (Germany), Mihu Iliescu (France), Sharon Kanach (France), Makis Solomos (France), Ronald Squibbs (USA), Georgos Zervos (Greece) Abstract As one of the most important composers of the twentieth century, Iannis Xenakis is also known for having used mathematical models in his compositions and for developing a formalization of music. But Xenakis’s compositional processes did not rely only on mathematics. Like many other composers, he borrowed extensively from his own works. These borrowings, which cannot be properly regarded as self-quotations, did not always relate to theoretical problems. Most of the time, they were selected for their particular sonic qualities or transformed in order to create new ones. This presentation examines the extent of self-borrowing in the music of Iannis Xenakis and shows how the composer made use of montage techniques as a means of producing different kinds of objects or textures. INTRODUCTION Iannis Xenakis figures among the most important composers of the twentieth century. Besides an extensive work, he left many writings which reflect his interest in concepts developed by science and philosophy. -
Musical Composition As Applied Mathematics: Set Theory and Probability in Lannis Xenakis's Henna
BRIDGES Mathematical Connections in Art, Music, and Science Musical Composition as Applied Mathematics: Set Theory and Probability in lannis Xenakis's Henna Ronald Squibbs Georgia State University School of Music P.O. Box 4097 Atlanta, GA 30302-4097 E-mail: [email protected] Abstract Originally trained as an architect and engineer, Greek composer Iannis Xenakis has forged a distinctive musical style through the application of various branches of mathematics to his compositional process. Early in his career he focused on topics in probability. After his initial concentration on mathematical models of indeterminacy, he began to incorporate more deterministic methods of organization into his compositions, including set theory and group theory'. Herma is a composition for solo piano written in 1960-61. It is representative of the coexistence of determinacy and indeterminacy in the structure of his works, and thus serves as a good introduction to the music of this remarkable composer. 1. Xenalds and the Development of Stochastic Music 1.1 XeDaids the Composer. The modem period is an era in which progressive composers have been both lauded and repudiated for their use of abstract compositional procedures. Even among his contemporaries Iannis Xenakis stands out for the direct and thorough manner in which he 'has applied procedures from various branches of mathematics to the composition of his music. His most important theoretical treatise, Formalized Music: Thought and Mathematics in Music, presents a variety of mathematical concepts along with their applications to his compositions over roughly a forty-year period [1]. In the 1950s his work was mainly concerned with the application of probability theory to musical composition, resulting in a style he dubbed "stochastic music." Beginning in the mid-1960s his work focused on formalized methods of deterministic (i.e., non-stochastic) composition including a generalized theory of musical scales. -
2011 Celebrating the Life and Influence of Composer, Architect and Visionary X Iannis Enakis
VANCOUVER NEW MUSIC FESTIVAL2011 Celebrating the life and influence of composer, architect and visionary X Iannis enakis newmusic.org OCT 20 22 Listening to the music of Iannis Xenakis…is like being flung ALL EVENTS AT back into some fierce atavistic SCOTIABANK world before culture existed… DANCE Such magnificently innocent music is bound to be out of place in our oblique, knowing age, so obsessed with its past, so CENTRE fastidiously ironic, so concerned, in its art, to layer ambiguity upon ambiguity. That Xenakis could have denied this pervasive cultural trend for 40 years is an amazing feat. Perhaps only 677 someone who had no need of the western tradition, someone whose roots lay elsewhere, could have done it. DAVIE ST. from IannIS XenakIS’ obITuary, by Ivan HeweTT, ” ShOwS 8PM PublISHed February 5, 2001 In The Guardian Celebrating the work and influence of Something one of the most original and prolific creative figures of the 20th century, Rich and VNM’s 2011 Festival honours the 10th StrangE anniversary of the death of composer, FIlM architect and visionary Iannis Xenakis. SCREENINg Xenakis’ works span every media and Oct21- 6PM numerous approaches, from orchestral to electroacoustic to multi-media. ICKETS Also a mathematician, experimental $20 regular • $15 students + seniors engineer and architect, theoretician, sikora’s classical records brown Paper Tickets $ $ educator, and author, Xenakis was a 3-NIGHT Pass 50• 35 432 w. Hastings st. brownpapertickets.ca avaIlable oNly through true renaissance figure. 1-800-838-3006 vaNcouver New MusIc 604.633.0861 & aT the door Xenakis Project Amof tehericas Black CMYK Pantone OCT THURSDAY 20 James harley is a Canadian composer presently 8PM based in ontario, where he teaches digital Music at lorI FreedMAN (Montreal) IANNIS XeNAKIS mini-polytope 01 the university of Guelph.